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Prehistoric aboriginal culture
Prehistoric aboriginal culture
The aboriginal dreaming and buddhism
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Dreamings or Dream Time creates access to the ancestral world. Based on research, the Aboriginal lifestyle can be divided into the human or what I think of as the real world, from the sacred world and the physical world. The human world, in which I will just call their “reality,” is the world that consists of the people, their culture in the generic form, and basically their daily lives. The sacred world is where Dreamings take place. It is the ancestral world where the world was created, where ancestors are roaming and creating. This world in not situated only in the past but also in the present (more will be said of this later). Finally, there is the Physical world which connects the previous two realms. The physical world is the landscape, it is nature, it is land formations it is the tangible materializations of the world. During their Dreamings or Dream Time, aboriginals witness and learn the creation stories that formed the physical world. The Myths of these stories goes often something like this: The sky gods where sleeping but then they arose and created the landscape by transforming into different characters along the way. Once the Sky Gods were done with formations they took the shape of different features of the land like rocks or mountains (Eliade 1973:45). The Dream Time then is a time to transcend from their reality to another worldly realm. This is in order to discover the stories of their ancestors and their totems. Here is where they learn the stories of their realities. What is interesting to analyze at this point, which has been done by Alan Rumsey (Rumsey 1994), is acknowledging that “Dreamtime is a sense of dreaming in that it is not taken place in the everyday life of reality. It is in the sense a different ...
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...16-130 Sydney: Oceania Publications, University of Sydney.
Stanner, W.E.H.
1998 [1956]. “The Dreaming,” in Traditional Aboriginal Society (2nd ed.), ed. W.H.
Edwards, 227-238.
Stanner, W.E.H
1979. White Man Got No Dreaming: Essays Australian National University, Research School of Social Sciences
Turner H. David
1991. Dreamtime: Life, Afterlife and the Soul in Australian Aboriginal Religion, India International Centre Quarterly, Vol. 18, No. 4. Pp 4-18 http://www.jstor.org/stable/23002242
Venbrux, Eric
2002 The Post-Colonial Virtue of Aboriginal Art Zeitschrift für Ethnologie , Bd. 127, H. 2, pp. 223-240 http://www.jstor.org/stable/25842867
Wolfe, Patrick
1991 On Being Woken Up: The Dreamtime in Anthropology and in Australian Settler Culture Comparative Studies in Society and History, Vol. 33, No. 2 pp. 197-224 http://www.jstor.org/stable/178901 .
Through the three pieces, the landscapes reflect a painting style is more often associated with European Romantic art, however, unlike the others, the central piece showcases the sky painted with miniscule dots, a technique common within Indigenous art (Lingard 2014, 44). However, the fact that the sky is the only piece of the composition painted with this technique and is placed in the background while more European inspired art and images are placed in the foreground is potentially symbolic of the marginalisation of Indigenous people and their culture in contemporary Australian society. Within Bennett’s own life, he was brought up without his Aboriginal heritage ever being spoken of, describing it himself as “overwhelming Euro-Australian” (McLean 1996, 20). Thus, within his artworks, a dotted circle at the top of each composition includes black footprints facing away from the circle, which matches his personal experience of Indigenous culture being ‘left behind’ in contemporary Australian society. The artist lived in a time where he was connected to a variety of Indigenous experiences including his own as well as the servitude of his mother, and thus through the combination of these varying art techniques, Bennett evokes both discord and further represents the marginalisation of Indigenous culture
Kent Monkman is an artist of ‘Aboriginal and Irish descent’ (Filgiano) who was commissioned to create a large scale Acrylic on canvas, measuring 72” x 108”.“The Academy” is a parody piece which makes reference to art created in the European tradition, alongside Aboriginal art and artifacts. It hangs in the Museum Gallery alongside some of the very pieces that are featured within it. It’s as though Monkman is playfully gossiping about his neighbors in the Gallery, both figuratively and literally. While his work is significant enough to hang in the Gallery alongside these other masterworks, Monkman makes a tongue-in-cheek observation that Academy work has historically been regarded as the only legitimate Fine Art. Traditionally, Aboriginal Art and Artifacts have been confined to separate exhibits or ancillary displays, but never alongside classical European pieces. The piece makes reference to a vast...
Indigenous Australian artist Gordon Bennett re-contextualises the work of Colin McCahon by borrowing and transforming key visual features. Bennett’s work challenges the viewer and gives them an alternative perspective of the culture and identity of Indigenous Australians. The quote by The National Gallery of Victoria states, “Often describing his own practice of borrowing images as ‘quoting’, Bennett re-contextualises existing images to challenge the viewer to question and see alternative perspectives.” This quote is clear through analyzing the visual features as well as the meaning behind the work of Gordon Bennett’s appropriated artwork ‘Self-portrait (but I always wanted to be one of the good guys)’ (1990) and comparing it to Colin McCahon’s
Dr. Marcia Langton, an anthropologist from Australia of Australian Aborigines descent, spoke at the Berndt’s lecture in 2011. Her article, Anthropology, Politics and the Changing World of Aboriginal Australians, focuses primarily on the works of an anthropologist couple Robert and Catherine Berndt. They had completed many ethnographic studies in various areas around Australia. Langton states that their work has been crucial in order to have a complete understanding of the Australian Aborigines’ society. The indigenous Australian’s society has been thoroughly researched by many social sciences through the decades. Artworks, religion, rituals, economy, politics, and even claims of UFO sightings have been recorded by a multitude of scholars. It could be argued that the Australian Aborigines’ culture has been better documented than any other non-western society. I would like to capture the movement of Australian Aboriginal tradition to a more modern society by incorporating Dr.Langton’s works as well as the work of National Geographic Journalist, Michael Finkel. By researching the society as it is today in the 21st century, I will to analyze how they relate to Australians of European descent.
“Art can use the power of visual image to challenge and even change popular opinions about important and universal issues. Art can be a very influential way to give a strong, direct comments and criticisms on things that have happened in society and culture.” (Rehab-Mol J, 1998, p6) Indigenous art is mostly about connecting to their land and their religious belief; however, art has different forms, especially the Indigenous contemporary art as it uses ‘modern materials in a mixed cultural context’. (Aboriginal Art Online, 2000)
Before 1919, Aboriginal/indigenous art and artifacts were virtually non-existent in the world of art, with almost no representation whatsoever and was “thought to be dying under the waves of white cultural encroachment on their lands, languages and cultural practices.” (The Canadian Encyclopedia, paragraph #4). After returning from a trip to England in 1899, feeling “cheated by 'bad health and circumstances'”, Emily felt isolated in Victoria, being in her mid-thirties and single, grouped with her sisters critical opinions of her and old friends having moved away or joined private groups such as 'The Married Ladies' Club' that she could not join. In 1905, she visited a small Aboriginal village by the name of Ucluelet, where she had often been to in her teen years and had been known as Klee Wyck, meaning “laughing one” in Kwakiutl (Tippett, Maria, Emily Carr: a Biography, p. 63-65).
Bourke, E and Edwards, B. 1994. Aboriginal Australia. St Lucia, Queensland: University of Queensland Press.
As European domination began, the way in which the European’s chose to deal with the Aborigines was through the policy of segregation. This policy included the establishment of a reserve system. The government reserves were set up to take aboriginals out of their known habitat and culture, while in turn, encouraging them to adapt the European way of life. The Aboriginal Protection Act of 1909 established strict controls for aborigines living on the reserves . In exchange for food, shelter and a little education, aborigines were subjected to the discipline of police and reserve managers. They had to follow the rules of the reserve and tolerate searchers of their homes and themselves. Their children could be taken away at any time and ‘apprenticed” out as cheap labour for Europeans. “The old ways of the Aborigines were attacked by regimented efforts to make them European” . Their identities were threatened by giving them European names and clothes, and by removing them from their tra...
Reynolds, H. (1990). With The White People: The crucial role of Aborigines in the exploration and development of Australia. Australia: Penguin Books
Aboriginal spirituality originally derives from the stories of the dreaming. The dreaming is the knowledge and a sense of belonging that the Aboriginals had of the beginning of life and the relationship to the land and sea (Australian Museum, 2011). The dreaming stories are passed on from one generation to the next orally. These stories teach the following generations how to behave towards the land and other people. The dreaming stories give them a sense of duty to protect the land and appreciate it because the dreamtime stories indicate that the spirits have not died but are still alive in different forms as animals or humans, therefore the ancestor’s power is still felt through the landforms (Clark, 1963), (Australian Governement, 2008)
A New Kind of Dreaming is a novel written by Anthony Eaton, about a teenage boy, Jamie Riley, being referred to rural Western Australia where, he meets new friends, enemies and also discovers a shocking secret about the towns head police officer. The pressure to find out the secret puts Jamie in a great deal of trouble, from being frightened by the police, blamed for a fire and vandalism offences and even going missing in the desert. The characters have authority or are defenceless.
Leonie Norrington-penned novel ‘The Spirit of Barrumbi’ is a unique look at the spiritual beliefs of the Aboriginals in Outback Northern Territory. Following two committed families, one Aboriginal and one non-Aboriginal, brought together by the land and their strong bond, cultural beliefs held by the older caretakers of the land and the careless personalities of younger kids begin to crash when one of the children, Sean, wanders into the sacred land that is Death Adder Ridge. The book follows the long journey to help Sean get back home safe, and the deep emotional journey that provides the novel’s foundations. The frequent use of colloquialism from the characters gives them a believable personality that puts you straight into the environment
In this paper I hope to open a window to the vast and mysterious world of dreaming. To most people, information about dreams isn’t common knowledge. In researching this subject though, I found that everybody has and reacts to dreams, which are vital to your mental health. You will also find how you can affect your dreams and how they affect you.
This is an incredible paragraph extracted from Bora Ring. This poem depicts perfectly of the European invasion of Australia. It shows how the traditions and stories are gone, how the hunting and rituals are gone and ‘lost in an alien tale’, the Europeans being the aliens. This poem also describes that it seemed as if the tradition of Aborigines was ‘breathed sleeping and forgot’. These are powerful words Judith Wright used to show how they Aborigines were quickly invaded and ‘forgotten’. This poem is an excellent example of why Australian students should study her poetry.
Kasfir, S. L. (2007) African Art and the Colonial Encounter: Inventing a Global Commodity, Bloomington: Indiana University Press.